What's great about documentary genre, it seems to me, is that it can be experimental filmmaking. You have a license to do a lot of diverse things under the umbrella of "documentary."

This uses a lens system, which I have used for years in various different ways, but I've never used it in the context of an interview. This is the very first time that I've done that. It's a lens called The Revolution, so it allowed me to interview Elsa [Dorfman] and actually operate the camera. Well one of the cameras, because there were four cameras there.

People can burn archives; people can destroy evidence, but to say that history is perishable, that historical evidence is perishable, is different than saying that history is subjective.

I like to think that I differ from other interviewers in the sense that I hide my agenda more successfully, and I'm more open to hearing stuff that is surprising and unexpected. That I'm actually involved in an investigation, through monologue, at times.

When you start talking about the known knowns and the unknown unknowns, you're thrown into a crazy meta-level discussion. Do I know what I know, do I know what I don't know, do I know what I don't know I don't know. It becomes a strange, Lewis Carroll - like nursery rhyme.

It's really hard to know why certain artists become famous and others don't.

You know, anything more negative, anything more disparaging, anything more adversarial than what [Donald Trump] does already. The mystery is how he's gotten as far as he's gotten.